ARTdacity

In this deeply moving episode, Jo-Ann Strauss reunites with the man who first opened her eyes to the world of art. Philip Boyd, a towering figure in South African ballet, reflects on a career that spans the prestigious stages of CAPAB to the classrooms of Gugulethu. He recounts his transition from being a principal dancer performing roles like Albrecht in Giselle to becoming a mentor who brought "Ballet for All" to the townships during the height of Apartheid.

Jo-Ann Strauss hosts a landmark celebration at the iconic "Pink Lady" of Cape Town—the Belmond Mount Nelson—to launch the Thebe Magugu Suite and Magugu House. In this episode, LVMH Prize winner Thebe Magugu reflects on a decade of his brand and his mission of "Afro-encyclopedic" fashion: using cloth as a powerful tool for preservation, advocacy, and memory.

Guest: Franziska Wendler (Director, Galerie EIGEN + ART) The Conversation: Jo-Ann connects with Franziska Wendler to discuss a historic milestone: the gallery’s participation in the inaugural edition of Art Basel Doha. This episode focuses on the presentation of Neo Rauch, the most prominent figure of the New Leipzig School and one of Germany’s most influential living painters.

Jo-Ann connects with Cyril Moumen to explore the "nomadic" spirit of Gallery Nosco. After relocating his program from London to the South of France and Brussels, Cyril brings a globally-minded presentation to Cape Town centered on the 2026 theme of "Appropriation".

Fresh from his residency in Germany, Brett Charles Seiler discusses his life as a "swallow," chasing the sun between Europe and South Africa. Brett and Franziska explore the creation of "Low Budget Love Story" and how his raw, poetic use of materials like bitumen and text continues to capture urgent, intimate moments.

A deep dive into the "radical experimentalism" of Gabrielle Kruger’s studio. Gabrielle explains her unique process of peeling and weaving paint into 3D sculptural "skins" and "hanging landscapes". Franziska discusses the gallery’s long-standing connection between Leipzig and Cape Town and their 2026 booth featuring Birgit Brenner’s powerful social installations.

Jo-Ann sits down with the team from Nairobi’s Circle Art Gallery to discuss their return to the Investec Cape Town Art Fair. Sujay Shah reveals the evolution of his practice—moving from satirical takes on colonial trophy hunting to complex, ambiguous "hybrid" and "cyborg" figures that challenge the viewer to look closer. Danda shares the gallery’s 14-year journey and the vital importance of building cross-continental collector bases and critical dialogue within Africa.

The air at the Cape Town Art Fair is electric. It feels as though the entire world has descended on the tip of Africa to experience the pulse of contemporary art. In this whirlwind episode of ARTdacity, we bridge the gap between high-level curation and the raw, human stories that power the industry. I sat down with art historian Liese van der Watt to discuss her "labor of love and relief," the book We, The People, which traces 30 years of South African art and democracy. We also welcome home Rita Mawuena Benissan, whose monumental atrium commission at the Zeitz MOCAA left patrons in tears, as she reflects on the profound "coronation" of culture and the enduring legacy of Koyo Kouoh.

Tonight, the red walls of the Zeitz MOCAA aren't just a design choice—they are a provocation. I am honored to be at the opening of the exhibition A Protea Is Not a Flower, a deep-dive research project that places contemporary giants Robin Rhode and Lerato Shadi in a haunting, vital conversation with the legacies of Bessie Head, Gerard Sekoto, and Don Mattera. In this segment, we stand before a staggering 1:1 ratio mural of the facade of John Vorster Square, the notorious Johannesburg police station. This fragment of architecture serves as a backdrop to the poetry of Don Mattera, specifically his 1970s work "Fallen Fruit," dedicated to the mother of anti-apartheid activist Ahmed Timol. As we walk through the monochromatic photography offset by these visceral red surfaces, we aren't just looking at art; we are questioning the very mechanics of history: Who records it? Who is pushed to the periphery? And how do we celebrate the "grandness" of figures like Bessie Head, who lived in humble poverty but left a legacy that is computationally priceless?

The beauty of the Cape Town Art Fair lies in its serendipity. While grabbing breakfast at "Between Us," I followed a "rabbit hole" led by London-based gallerist Isaac and found myself in an extraordinary, hidden space dedicated to the late Johannes Segogela. Johannes (1936–2018) was a master of wood sculpture whose work remains a powerful, if sometimes overlooked, pillar of the South African art landscape. Despite his presence in major global museums and a long history with the Goodman Gallery, Segogela is a reminder of how easily legendary African artists can slip into the digital shadows—even today, the internet erroneously lists him as still living. In this episode, we explore his dogmatic, tender, and often startling world: a place where angels film the tragedies of the African Renaissance and the struggle between sin and salvation is carved into every figure.